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i.e. play a small child a G major chord and a G minor chord and the vast majority will understand the happy/sad thing straight away. When comparing entire pieces of music there are too many other factors: tempo, instrumentation, etc. and its not the same comparison at all.
Also, does one change mode when chords change or generally stick with one??
One is knowing what chord type it is, eg minor, major, dominant 7th, major 7th, minor 7th
Once you know the chord type you just need to find the root note and you'll be able to put the chord over it. There is some trial and error involved in finding the root note of a chord
The other ear skill is relative pitch. So you hear one note, you don't necessarily know what it is but when you hear the next note you know how big the gap is between the two notes, this is called the interval
A good way to remember intervals is to associate each one with the first two notes of a melody. Eg, minor second is the jaws theme, major sixth is 'my Bonnie'. A fifth would be "star... man! (waiting in the sky)"
The two skills above when combined will allow you to figure out the chords to any song. Once you know the first chord you can use relative pitch to identify the interval beteen the root notes and then hear the chord type played over the notes
Modal theory will support the above in diatonic music. But in jazz you're fucked because jazz is mental
The second question is if you want.
Say you're soloing over a 1 4 5 in C, which gives you the chords C, F and G. C Ionian ( the major scale ) sounds great over all 3 chords *but* you can switch to F Lydian and G Mixolydian for the F and G chords if you want
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These are harmonic progressions - sequences of chords within a single thematic ‘sentence’ that typically only lasts a few bars and is repeated a few times over the course of the piece. I.e., a normal song, not a classical concerto. There is no modulation here (a modulation means a new key has to establish itself), therefore the underlying key remains as C throughout.
Generally speaking, an effective melody is one that is able to carry through over a whole progression; not one that is pieced together from different, stand-alone chords. To try and make your brain switch to a new mode for every chord within a diatonic progression, and then play the same alphabet anyway, might not help. It could trip you up while you think of the chord and mode; or worse, it could result in your melodies sounding stuttered, disconnected and ungainly. (Gosh this is difficult to describe with text!)
As an example, Twinkle Twinkle has the chords:
Twinkle twinkle little star, how I wonder what you are
I I IV I IV I V I
In C, the tune is:
C G A G; F E D C.
That tune stays completely in C, there is no modulation, no new modes to worry about, it’s just a tune in C. It doesn’t make sense to think on chord IV that the A is the 3rd note in F Lydian.
That’s just my view though, I could be missing something though so take it with plenty of salt.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Seriously: If you value it, take/fetch it yourself
Edit: this is quite good: https://youtu.be/lyq48eybjZw
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
try experimenting with each of the modes over that and you'll find their individual voices..
E Ionian, E Aeolian, E Dorian etc..
It was more of an explanation than anything. Personally I'd stick to the one scale for a short progression, although it's possible to change scales.
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Sure, and your post was perfectly legit and I did clock your emphasis that you *can* think chord-by-chord if you really want; and indeed if the chord durations are really long and you’re wanting to cram hundreds of notes in then I guess you might find yourself thinking in a mode rooted in the chord you’re on.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
https://www.guitarmusictheory.com/modes/
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Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
and he has the nerve to say lots of other people describe Modes wrong ha ha
it was useful saying that one of Santana’s songs sounds Dorian. Well that was useful. Some more examples of other songs which are in certain modes will help us work out others
therein lies the whole rub of this whole thing, and is the difference between a good teacher and someone who just says what they know but which doesn’t help the person that matters - the student.